‘A glimpse of something hidden and unknown’: Andrew Fuhrmann on Mette Edvardsen and Matteo Fargion’s Penelope Sleeps at Dancehouse
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Takao Kawaguchi’s dance work Good Luck is quietly beguiling, says Andrew Fuhrmann
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The swiss.style program currently running at Dancehouse provides some of the most exciting dance seen recently in Melbourne. Andrew Fuhrmann reviews.
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‘The dances communicate an understated sensuality and tenderness’: Andrew Fuhrmann on Russell Dumas’ retrospective show, Cultural Residues 2020
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Andrew Fuhrmann on the intense minimalism of Myriam Gourfink and Hellen Sky’s Quake
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‘It sounds just like a hangover feels’: Atlanta Eke’s The Tennis Piece demands too much intellectual labour from its audience, says Andrew Fuhrmann
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Antony Hamilton’s Universal Estate is a colourful diversion but little more, says Andrew Fuhrmann
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‘The space is contested but the dynamics of power are fluid’: Andrew Fuhrmann on Anouk van Dijk’s final Chunky Move work, Common Ground
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‘Meticulously planned and conscientiously put together, it suggests a feeling of completeness and sufficiency’: Andrew Fuhrmann on Siobhan McKenna’s Utterance
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‘An assault against the palaces of representation and a disruption of the mediated gaze’: Andrew Fuhrmann on Post Reality Vision
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